Industry Talk: Shifting European distribution landscape and future audiences

On November 20, Industry Talk: Shifting European Distribution Landscape and Future Audiences delved into these changes, offering insights into the evolving landscape of European film distribution and strategies for engaging audiences. The event was hosted by REACH'M, a collaboration between virtual cinema innovators Picl and Medialoc, supported by Creative Europe Media NL. The discussion, moderated by Michael Gubbins (Sampomedia), featured a panel of speakers, including Marynia Gierat (director, Kino Pod Baranami), Sarah Mosses (founder & CEO, Together Films), Marc Smit (co-CEO, Cinéart), Greet Stevens (business director & digitalization, MOOOV), Anke van Diejen and Noortje van de Sande (CEO, Picl), and Maria-Silvia Gatta (European Commission).

Before diving into the discussion, Gubbins noted “a slight change in perspective—the idea of talking about future audiences,” which he thought was misleading. “This is about the realities of today,” Gubbins said. “When discussing audience behavior, we aim to move away from the idea of replacement—the notion that streaming is a new world replacing the old world of cinema.”

The virtual cinema platform Picl, which is said to be one of Europe’s first hybrid distribution platforms, was launched in 2021, exemplifying the collaborative philosophy in working with 39 cinemas in the Netherlands and four in Belgium. “We aim to blend the cinema experience with online streaming,” said Van Diejen of Picl. The platform manages legal rights, marketing, and technology while working with cinemas hand-in-hand to deliver curated content to audiences. The key, as Van de Sande remarked, is that the model is not competitive. “Cinemas are directly engaged, so there’s no competition. Whether people visit the cinema or watch at home, cinemas still receive a part of the revenue. [...]. “The hybrid approach isn’t just adding on—it’s about rethinking your model,” Van de Sande clarified.

In today’s landscape, the hybrid models are a game-changer for filmmakers and audiences. However, “it’s been more of an evolution than revolution,” co-CEO of Cinéart Smit emphasized, noting that the current trends are “fruits of a longer shift.” Hybrid distribution, particularly in markets like the Netherlands, allows for more flexibility with “post-chronology” approaches. “Theatrical releases remain the main moment,” Smit explained, but they are complemented by varied strategies for engagement during and after the initial window. In contrast, countries like France and Poland have stricter distribution windows, which shape the industry differently. 

As the director of Kino Pod Baranami in Krakow, Gierat stressed the importance of curation, community engagement, and adapting to change. “We pick films we think are worth seeing and present them to audiences who trust our choices” as cultural “curators,” Gierat said. However, in order for a cinema thrive, “it has to work much harder than than before.” It is no longer just about a singular offering of programming and screening films. Events like filmmaker discussions and post-screening conversations also create a social place, where audiences form deeper connections with the cinema and one another. When COVID hit, prompting cinemas to shut down, Kino Pod Baranami launched Poland’s first cinema-owned VOD platform a month later, which allowed the cinema to remain connected with audiences during the lockdown. Today, the primary focus remains on the physical cinema, with the VOD platform serving as a complement by offering films for rent after their theatrical run. Targeting youths, in particular teenagers, who as Marynia called “are our future audience,” remains a challenge that Kino Pod Baranami tackles head-on, including through its Young Ambassadors of Our Cinema program.

Founder and CEO of Together Films Mosses discussed how her company harnesses hybrid models for advancing social justice and reaching commercial objectives, as reflected in its dual approach to film distribution and campaign planning. The key lies in employing data-driven strategies to drive meaningful social impact campaigns while delivering measurable results. One of the standout campaigns that Mosses highlighted was Maisie Crow and Abbie Perrault’s Zurawski v Texas, which zeroes in on a group of women banding together after being denied abortions in the US. The film took an unconventional route to audiences, including through financing from the dating app Bumble, which funded a series of impact screenings. 

Among other examples Mosses highlighted was Your Fat Friend by Jeanie Finlay about a blogger, Aubrey Gordon, who writes about the realities of living as a self-described “very fat person.” Together Films supported Finlay in producing a virtual watch party during the Thanksgiving weekend, which Aubrey was willing to do, and it was sold out in four hours, covering the film's entire UK tour. As Mosses explained, this approach focused on understanding Finlay’s audience’s needs and engaging with them on their terms. Accessibility was an important issue, as many members of the community felt excluded from physical spaces, and Finlay was deeply committed to addressing these challenges by actively questioning the cinemas about the size of their seats and the presence of armrests. While such hybrid models present numerous advantages, the film industry faces hurdles, as Mosses noted, because it generally lacks the vocabulary to fully recognize and celebrate the opportunities presented by online viewership. “We cannot [transition] to a truly hybrid industry until we acknowledge online viewership as an integral part of [the ecosystem],” she said, adding that this shift requires redefining success and getting past the emphasis on box office opening weekend numbers.

The discussion drew to a close, with Gatta of the European Commission pointing out that the panel moved away from “the dichotomy” toward exploring the potential synergies between the cultural and business approaches, adding that the insights shared offered valuable perspectives on leveraging technology intelligently on building a European audiovisual ecosystem that is both impactful and meaningful for its citizens. Charting the path ahead, Gatta also emphasized that COVID had accelerated existing trends, driving innovation in cinema-going experiences and audience engagement outside traditional cinemas. During the pandemic, they collaborated with European cinemas, distributors, and platforms to investigate new ways of connecting with audiences beyond the cinema's four walls. “We must continue meeting audiences where they are—both physically and digitally—to ensure equal access to culture,” she remarked. Finally, Gatta highlighted the urgency of addressing “cinema deserts” in Europe—regions lacking cultural infrastructure or cinemas. Tackling this issue will be among the priorities in the coming years, with a focus on innovative, technology-driven solutions and enhanced cooperation on data sharing and analysis.